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HAMLET'S SPEECH TO THE PLAYERS

Hamlet: Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus; but use all gently: for in the very torrent, tempest, and, as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness....

Be not too tame, neither, but let your own discretion be your tutor: suit the action to the word, the word to the action; with this special observance, that you o'erstep not the modesty of nature, for anything so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure.

—Shakespeare.

Let us consider together the problem of vocally interpreting this speech of Hamlet's, keeping the mind of the auditor constantly before us, the special factor in our problem which is the concern of this study. What is the first point to be determined? The situation, is it not? Remember, in our previous discussion I have made it clear that it is not essential to our present purpose that we should know, in determining our situation, the exact conditions under which this speech was delivered. Neither is it essential to our present purpose that we should make an exhaustive study of the play of "Hamlet" or of the character of the Prince of Denmark. Lest you mistake me I must reiterate the fact that an interpretation of these lines, looked upon as Hamlet's speech, would require just such exhaustive study of context and character—study which would lead to that complete possession which alone insures perfect expression; but it is legitimate at this point in our study of vocal expression to use this text quite apart from its context as a perfect example of direct appeal. It is legitimate to imagine a situation of our own in which this thought could be pertinently expressed. We must then first determine what you, the speaker, are to represent, and the nature of the audience you are to address. One word in the text more than any other, perhaps, determines these points—the word "players." With this word as a key to a probable situation, let us imagine that you, the one who must "speak this speech," are a stage-director of your own play, and that we, the class to whom you must speak, are a company of players (actors, as we now call them) which is about to present your play. The fact that this is exactly the situation in Shakespeare's play from which this speech is taken is interesting, but does not affect our attitude toward the text. But that we should assume the state of mind which animated the author of the Mouse-trap, is vital to our problem. Hamlet was intent upon getting an effect incalculably potent from the delivery of the "speech" he "had pronounced." You must imagine that you have written not merely a play, but a play which you intend shall have a powerful influence upon the lives of the people who are to hear it. Once more, then, let us determine the exact situation. You, the author of a moving play—you, its stage-director—have called us, your actors, together for rehearsal. You know just how you wish the lines of your play delivered. It is absolutely vital to the success of your venture that we, the actors, should grasp your ideal of delivery and act upon it. You must convince us that this is the only way in which you will permit the text to be handled. You are the orator as Mr. Beecher has drawn him for us. You will realize, in thinking your way through this appeal, that, while the stage-director is addressing the whole company of players, he has singled out from the others one who is to deliver a particular speech from his play. It is well to follow this idea of the situation. Include us all, then, as a class in your chosen cast, but single out one of us, and speak directly at the mind of that one. Look him straight in the eye. Direct your thought in the main to his mind, even while your thought reaches out and draws us all into the circle of its enthusiasm. Now, with this attitude and intent toward an audience, try to vocally interpret, to think aloud this thought. What is the trouble? "Speak the speech" you say, "is a difficult combination of words to utter"? "'Trippingly' trips up your tongue"? "You don't understand the reference to a 'town-crier'"?

Ah, what discoveries we are making!

"You feel that you should be able to illustrate your own ideal of delivery by delivering these directions after the very manner you ask your players to observe"? That might legitimately be expected of you, I think. "But this you cannot do!" What a shocking confession! Yes, but how good to have this new knowledge of your own ability, or, in this case, disability. How appalling to find that you cannot easily utter the simple combination of words, "Speak the speech, I pray you," without stumbling; that any word, a plain, simple English word, trips your tongue. How appalling, but how encouraging it is! For the discovery of this fact, the consciousness of these limitations, "constitutes half the battle" before us. It is a battle. But you shall be equipped to meet it. Turn to the chapters on "Freeing the Tone." Find the exercises for training the tongue. Faithful practice of these exercises (even without direction, but, if you are a member of the class in expression for which this book was made, under direction) will very shortly conquer the unruly tongue for use in uttering any difficult combination of words. And your teacher will patiently "pick you up" (in this first study) every time you trip over a word or phrase, and she will patiently refer you to the corner of history which will explain any unfamiliar portions of your text if you will persistently try to do your part at this point. That part is, to think the thought before you directly at another's mind. That is all we ask at this point. Make this direct appeal for simplicity in delivery straight to the mind of him whom you have chosen to receive, and act upon it. Talk to me if I am your chosen player! Convince me! Make me realize what you expect of me! Make me want to meet your expectation! Make me afraid to fail you!

With these suggestions and this direct appeal to you, I leave you with your teacher and with the following material chosen for your preliminary study in Vocal Interpretation.